Discovering Benjamin Frankel’s: Bagatelles “Cinque Pezzi Notturni” for 11 instruments, op.35 (1959)

In 1959, Benjamin Frankel (1906-73) was admitted to Guy’s Hospital with a heart attack. Whilst recovering there, he composed one of his first “consistently serial compositions.” Unsurprisingly, the Bagatelles for eleven instruments, op.35, also called “Cinque Pezzi Notturni”, were dedicated to his consultant, Dr Charles Joiner.  Despite utilising a tone row, there is nothing fearsome about these five Bagatelles. Buxton Orr (Grove’s) explained that Benjamin Frankel perceived the tone row as a “pervasively thematic melodic line of almost infinite versatility, out of which it was possible to derive harmonies often of a startlingly bold diatonicism.”

The tone row, announced on the clarinet is:

Db Bb Eb C Ab F D G E B F# A 

This is developed in an elegant original use of this structural device.  The five “bagatelles” are 1. Andante, 2. Moderato (quasi andantino), 3. Adagio, 4 Lento di molto intimo and 5. Largamente (grave). The liner notes for the only recording of the work explain that the interest of this work is maintained by the subtle dialogue between the instruments. The entire work lasts for just under 10 minutes.

The Bagatelles are scored for flute, oboe, clarinet in B flat, bassoon, horn in F, harp, 1^st violin, 2^nd violin, viola, cello and bass. These Bagatelles use relatively straightforward musical tropes. For example, “the swift ascending arpeggios of the second movement, the gently accompanied melody of the third, and the meditative figures of the fourth, to the bold melody that opens the last movement. The set concludes in “reflective stability.”

The score of Frankel’s Bagatelles was issued in 1961 by Novello. It was evaluated in the Musical Times (March 1962, p.181). The unsigned reviewer considered that: “[the] Bagatelles are delicate little pieces, representative of Frankel's personal style; yet they show that he has learnt much from his younger contemporaries, and perhaps also from Stravinsky's recent works. Frankel has a fine musical ear and a gift for lyricism that can take the latest technical developments in their stride. Each piece is intimate in feeling, as befits night music; the dynamics rarely rise above ‘mp’. The demands made on the performers are nowhere exorbitant. I hope we shall hear some performances of this very accomplished little work before long (not one, but several), for it is just the sort of thing that deserves to be widely performed.”

Currently, Stravinsky was moving from diatonic based musical material towards use of the twelve-tone technique. Works that Frankel may have heard include the neo-classical ballet Agon for a large orchestra, and possibly Epitaphium for flute, clarinet, and harp. Although this latter was not premiered until as late as 17 October 1959.  The reviewer’s last wish has not come to pass. Few listeners will have heard these Bagatelles in the recital room.

E.R. writing in Music and Letters (July 1962, p.283) suggested that: “This is a fragile work, serial in origin (the opening twelve-note motif on the clarinet is used fairly consistently throughout) but impressionistic feeling. The thought, as in all this composer's work, is illusive as well as allusive, but it results in a texture that is highly refined and beautiful in sound. The eleven instruments (four wind, horn, harp and strings are used with the utmost economy and at the same time with the utmost telling power, so that every note is finely calculated. Technically, the work is not difficult to perform, but it does demand ultra-sensitive playing in dynamics and phrasing.”

In the 1990s, CPO records issued a remarkable series of Frankel’s music on CD. This included all eight symphonies, the notable Violin Concerto, op.24, all five String Quartets and the complete clarinet chamber music. Included on this last disc, are the Bagatelles, op.35. The performers are Paul Dean (clarinet) and members of the Queensland Symphony Orchestra.

Robert Layton, reviewing this CD for The Gramophone (March 1997, p.66) considered that “all these performances are highly music[al] and extremely accomplished throughout and Paul Dean proves an eloquent and expert player.” Turning to the Bagatelles, he recalls Frankel’s musical formation “in the world of popular music and film music” which “ensured a fluency that has often inhibited listeners from discerning the deeper current that flows under the surface [of his music].”  In the Bagatelles, Layton finds cross references to the Symphony No.1. This is especially so in the final Largamente, where “depth and seriousness are most strongly in evidence.”

Paul Rapoport in Fanfare (November 1996, p.249) reported that “Although slighter in scope, there is much to admire in…the Bagatelles (1959), although ''more serial,'' they do not sound different from Frankel's earlier music...The Bagatelles' orchestral variety helps, of course; but these are more imaginative pieces altogether, scintillating miniatures whose refinement is really exciting.”

Benjamin Frankel’s Bagatelles “Cinque Pezzi Notturni” for 11 instruments (1959) have been uploaded to YouTube. They are presented as individual files. This link goes to No.1.

Finally, Benjamin Frankel recovered from his heart attack. After leaving hospital he composed the score to the Hammer film Curse of the Werewolf.  It is credited as being the first serial score for a British feature film.